The Daily Egyptian, June 19, 2013
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Worklight Improv Team
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 6-2011 Worklight Improv Team Shannon N. Hill Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Acting Commons Recommended Citation Hill, Shannon N., "Worklight Improv Team" (2011). Honors Theses. 1858. https://scholarworks.wmich.edu/honors_theses/1858 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Worklight ImprovTeam Co-Chair Shannon Hill The time has come. For you to see. The beauty of. Humor and glee. No not that wimpie. Singing show. We're talking WIT. Just so you know. So sit right back. We'll carry on. We're here today. To turn you on! Music TURN ON THE WIT! 1: Would youturnon the TV,Hoarders is about to start? 2: Sure, let me find the remote. 1: Oh, I think I leftit in mypile of oldTroll Dolls. Ormaybe inthe kitchen under the mountain of Pizza Boxes I'm saving for that collage. Oh! No! In the bedroom on the third ofthe bed I sleep on. 2: Oh! Found it, it was sandwiched between oursnow globe collection and 80sscarves. 1: These people are so pathetic. 1: Cosmo quiz time! What will turn on YOUR man this Holiday Season? Cinnamon lip balm, santakinis, and candy cane stockings, yum! 1: So wait, I turn on the abandoned road with no sign and go 20 miles into the middle of a corn field until the road stops? 2: Yes. -
Scott Adsit: …Careful
Scott Adsit: …careful. And fun. But there’s nothing like performance going on anywhere. My parents didn’t listen to music. They didn’t obsess on anything apart from work and their kids, pretty much. Andrew Clark: You went to Columbia College in Chicago for Film, initially. Was the goal to be a filmmaker at first? SA: Yeah. I went to my dad’s college in Green Castle, Indiana for a semester and realized that I didn’t want to be my dad. Then I went to Columbia, which is like a great art school in downtown Chicago. It wasn’t a great school when I went there. It’s become a great school. It’s become a great, wide school, but the theater department there was always great, and run by really talented people. A great thing there was, you could not be a teacher if you were not already working in the field you’re teaching in. You had to have a job to have that job, which is cool, but also kind of cruel, I think, because it’s a cruel business, and if you lose one job, it’s like, “Oh, you’re done.” AC: Really? Wow. You had some pretty great instructors, but when did you kind of get the comedy bug? How did you sort of fall into that? SA: In junior high. There was an acting class that taught through improv, somehow. There was a teacher who was named Karin Little, who was a beautiful redhead who had been a Playmate. She was a centerfold in Playboy, and she had found herself teaching drama in a junior high. -
Half Hour Ep1 Transcript
! Ep:1 Date: 04/02/2020 Featuring: Cliff Chamberlain, Glenn Davis, Audrey Francis, Caroline Neff, Jeff Perry JEFF PERRY: For the first time in my life, I don't know what's going on. AUDREY FRANCIS: From Steppenwolf Theatre Company in Chicago, Illinois. JP: And he says, "Aah, now you're getting somewhere." AF: This is HALF HOUR. AF: Are we starting? CLIFF CHAMBERLAIN: We're starting! AF: Oh! CC: Let's do this! AF: Hi, everyone. CAROLINE NEFF: It's good to see your faces. CC: Good to see you all, too. GLENN DAVIS: Same. AF: So, we're going to record an intro. GD: Wait, so who's leading this thing? CC: I think Caroline is, right? AF: Awesome. Good job, Caroline. CN: That is a great deal of pressure. GD: I thought it was Caroline. CN: Okay, I'm already sweating. Um- CC: Nobody can see your sweat. You can't hear sweat. So, it's all good. CN: You don't know how hard I sweat. Um, okay! My name is Caroline Neff. I've been an ensemble member at Steppenwolf Theatre Company since 2016, and my pronouns are she/ her/hers. And my favorite food is eggs. !1 ! AF: Ew. CC: Wow. AF: True and gross, gross and true. All right, this is Audrey Francis. I've been an ensemble member at Steppenwolf since 2017. And my favorite food is French fries and ice cream. CN: Together? AF: Or not. CN: Separate? AF: Both. You give me one, I'll take it. You give me both, I'll take 'em. -
FEBRUARY 14-16, 2013 Festival XLV LOS ANGELES THEATRE CENTER KCACTF 2013 - 1 KCACTF 2013 - 2 the Kennedy Center American College Theater Festival 45
KC AC KENNEDY CENTER AMERICAN COLLEGE THEATER FESTIVAL TREGION VIII F FEBRUARY 14-16, 2013 Festival XLV LOS ANGELES THEATRE CENTER KCACTF 2013 - 1 KCACTF 2013 - 2 The Kennedy Center American College Theater Festival 45 Presents The Forty–Fifth Annual Region VIII Festival 2013 Arizona, Central and Southern California, Hawaii, Southern Nevada, Utah February 14 – 16, 2013 Los Angeles Theatre Center Hosted by Latino Theater Company Presented by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theater Festival, part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein. Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein, Dr. Gerald and Paula McNichols Foundation, the National Committee for the Performing Arts, The Harold and Mimi Steinberg Charitable Trust, and Beatrice and Anthony Welters and the AnBryce Foundation. Gifts and grants to education at the Kennedy Center are provided by Adobe Foundation; Sandra K. & Clement C. Alpert; AnBryce Foundation; Bank of America; Bernstein Family Foundation; The Honorable Stuart Bernstein and Wilma E. Bernstein; Captial One Bank; Carter and Melissa Cafritz Charitable Trust; Centene Charitable Foundation; Citibank; The Charles Engelhard Foundation; Clark Charitable Foundation; Community Advisory Board; Mike and Julie Connors; CVS Caremark; DC Commission on the Arts and Humanities; Dr. Gerald and Paula McNichols Foundation; Fight for Children, Inc.; David Gregory and Beth Wilkinson; Harman Family Foundation; The Harold and Mimi Steinberg Charitable Trust; Harris Corporation; Hilton Worldwide; The J. Willard and Alice S. Marriott Foundation; The Jacob and Charlotte Lehrman Foundation; Mr. James V. Kimsey; The Kiplinger Foundation; The Kirstein Family Foundation; Natalie and Herb Kohler and Kohler Co.; Kenneth and Lucy Lehman; The Macy’s Foundation; Margaret A. -
By Alan Bennett April 25
presents the Chicago premiere of by Alan Bennett directed by Nick Bowling scenic design by Brian Sidney Bembridge, U.S.A. costume design by Lindsey Pate lighting design by Keith Parham sound design and original music by Andrew Hansen projections design by Mike Tutaj properties design by Julia Eberhardt dramaturgy by Maren Robinson production management by James Ogden stage management by Jo Ann Flores-Deter artistic director PJ Powers managing director Elizabeth K. Auman featuring Donald Brearley**, Will Allan, Brad Bukauskas, Andrew Carter, Behzad Dabu, Rob Fenton, Joel Gross, Terry Hamilton, Govind Kumar, Michael Peters, Ann Wakefieldand Alex Weisman. April 25 - June 21, 2009 (previews 4/22 - 4/24) TimeLine generously 2008-09 season supported by sponsored in part by Those designers and scenic artists identified by U.S.A. are members of United Scenic Artists, IATSE Local 829, AFL-CIO. ** Member of Actors’ Equity Association, the union of professional actors and stage managers TimeLine Theatre Company | 615 W. Wellington Ave. | Chicago, IL 60657 773.281.TIME (8463) phone | 773.281.1134 fax | timelinetheatre.com TimeLine is a member of the League of Chicago Theatres and Theatre Communications Group (TCG), the national organization for the American theatre. cast Donald Brearley ** ...................................................................................................... Hector Will Allan ........................................................................................................................ Scripps Brad Bukauskas -
The Novelty of Improvisation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The novelty of improvisation: towards a genre of embodied spontaneity David Alfred Charles Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Charles, David Alfred, "The novelty of improvisation: towards a genre of embodied spontaneity" (2003). LSU Doctoral Dissertations. 76. https://digitalcommons.lsu.edu/gradschool_dissertations/76 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NOVELTY OF IMPROVISATION: TOWARDS A GENRE OF EMBODIED SPONTANEITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by David Alfred Charles B.A., Roosevelt University, 1995 M.F.A., Western Illinois University, 1998 August 2003 © Copyright 2003 David Alfred Charles All rights reserved ii ACKNOWLEDGMENTS Thank you to those who started -
Samuel GC Muñoz
Page !1 Samuel G.C. Muñoz CURRICULUM VITAE EDUCATION 2019 Dell’Arte International, School of Physical Theatre, Blue Lake CA Teachings/Influence of Carlo Mazzone-Clementi, Jane Hill, Jacques Lecoq, Marcel Marceau, Jean-Louis Barrault, Actor-Creator, Movement, Mask, Ensemble Creation, Environment, Embodiment 1997 - 2019 Society of American Fight Directors (SAFD) Certified Teacher Unarmed, Rapier & Dagger, Small Sword, BroadSword, Sword and Shield, Quarter Staff, Single Sword, Knife 2007 Movement for Actors Teaching Apprenticeship Movement Specialist/Certified Alexander Teacher Dr. Meade Andrews Alexander Technique, Laban, Viewpoints, Grotowski-Plastiques, Bartenieff Fundamentals, Michael Chekhov technique, Meyerhold Bio-mechanics, Physical Improv Theatre 2007, MFA Florida Atlantic University, Professional Actor Training Program Movement, Voice, Text, Acting, Shakespeare, Realism, Chekhov, Ibsen, Absurdism, Strindberg, Commedia, History 2000 & 2001 National Theater Conservatory, Denver, Co Low Flying Trapeze, Movement-Skinner Releasing Technique, Dance, Stage Combat, Acting, Voice, Singing, Text, Shakespeare, Chekhov 1999, BA Columbia College of Chicago, School of Fine and Performing Arts Acting(Stanislavsky, Ensemble, Body Movement, Text, Realism, Shakespeare,Voice, Stage Combat(Unarmed, Rapier & Dagger, Small Sword, BroadSword, Sword and Shield, Quarter Staff, Single Sword, Knife, Whip, Sword Throwing and Catching), Improvisation(Physical Theater, Ensemble, Character, Mime, Listening), Business(Auditioning & Acting for Stage, TV, Film) -
The Settlement Stage: How Hull House Bridged Leisure, Creativity, and Play
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2015 The Settlement Stage: How Hull House Bridged Leisure, Creativity, and Play Ann Goodson Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Education Commons Recommended Citation Goodson, Ann, "The Settlement Stage: How Hull House Bridged Leisure, Creativity, and Play" (2015). Master's Theses. 2891. https://ecommons.luc.edu/luc_theses/2891 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2015 Ann Goodson LOYOLA UNIVERSITY CHICAGO THE SETTLEMENT STAGE: HOW HULL HOUSE BRIDGED LEISURE, CREATIVITY, AND PLAY A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY ANN E. GOODSON CHICAGO, IL AUGUST 2015 Copyright by Ann E. Goodson, 2015 All rights reserved. TABLE OF CONTENTS ABSTRACT iv CHAPTER ONE: A BRIEF HISTORY OF HULL HOUSE 1 Overview of Research 1 The Beginnings of Hull House 3 Hull House’s Commitment to the Arts 8 Conclusion 10 CHAPTER TWO: A SYNTHESIS OF TWO THEORIES 12 A Hull House Pedagogy 12 Play Theory and Hull House 29 Significant Terminology 36 Conclusion -
2009 Commencement Program Columbia College Chicago
Columbia College Chicago Digital Commons @ Columbia College Chicago Commencement Programs College Publications 5-16-2009 2009 Commencement Program Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/commencement Part of the History Commons Recommended Citation Columbia College Chicago, "2009 Commencement Program" (2009). Commencement Programs, College Publications, College Archives & Special Collections, Columbia College Chicago. This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Commencement Programs by an authorized administrator of Digital Commons @ Columbia College Chicago. a, 0 0 N LL 0 (/) (/) <x:: _j u UJ I I- LL 0 1- z UJ ~ UJ u z UJ ~ ~ 0 u I ' Commencement of the Graduates of Undergraduate and Graduate Programs in O') Art and Design, Audio Arts and Acoustics, Education, 0 Interactive Arts and Media, Interdisciplinary Arts, Photography 0 N Saturday, May 16, 2009, 1:30 p.m. LL 0 Cf) PRESHOW Cf) The 2009 Commencement preshow features performances by Columbia College Chicago's <( student ensembles: _J (.) The Recording and Performance Ensemble (Gary Yerkins, Director) UJ The Columbia College Jazz Ensemble (Scott Hall, Director) 0) :r: 3CJVE and The Commencement Choir (Mimi Rohlfing. Director) 0 The Pop Rock Ensemble 3 (Bill Boris, Instructor) I- 0 LL N Joe Cerqua, Producer/ Director 0 Steve Hadley, Associate Producer I- I- J. Richard Dunscomb, Music Department Chair z z PROCESSI ONAL UJ UJ March of the Columbians ~ ~ By Scott Hal I UJ UJ (.) Walk This Way (.) By Joe Perry and Steven Tyler z z UJ UJ The Star Spangled Banner ~ By Francis Scott Key ~ Arranged by Joe Cerqua ~ ~ 0 0 (.) (.) l Li~ Every Voice Music by J. -
Process As Product: the Culture of Development and the Twenty-First
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Process as product: the culture of development and the twenty-first century American dramatist John Patrick Bray Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Bray, John Patrick, "Process as product: the culture of development and the twenty-first century American dramatist" (2011). LSU Doctoral Dissertations. 3612. https://digitalcommons.lsu.edu/gradschool_dissertations/3612 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PROCESS AS PRODUCT: THE CULTURE OF DEVELOPMENT AND THE TWENTY-FIRST CENTURY AMERICAN DRAMATIST A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by John Patrick Bray AS, SUNY Dutchess Community College, 1998 BS, SUNY New Paltz, 2000 MFA, The Actors Studio Drama School at New School University, 2003 August 2011 © Copyright 2011 John Patrick Bray All Rights Reserved ii ACKNOWLEDGEMENTS I am indebted to Dr. Leslie A. Wade for his guidance and enthusiasm with this project. I am also grateful to Dr. Femi Euba, Dr. John Fletcher, Dr. Leigh Clemons, and Professor Kristin Sosnowsky for their insight and generosity. -
The Pedagogy and Ethics of Improvisation Using the Harold
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2007 THE PEDAGOGY AND ETHICS OF IMPROVISATION USING THE HAROLD David Dellus Patton Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/906 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © David Patton 2007 All Rights Reserved THE PEDAGOGY AND ETHICS OF IMPROVISATION USING THE HAROLD A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by DAVID PATTON Bachelor of Arts, College of William and Mary 1997 Master of Divinity, Union Theological Seminary and PSCE 2005 Director: AARON ANDERSON ASSISTANT PROFESSOR OF THEATRE Reader: JANET RODGERS HEAD OF PERFORMANCE Reader: CHARNA HALPERN ARTISTIC DIRECTOR OF IO CHICAGO Virginia Commonwealth University Richmond, Virginia May, 2007 ii Acknowledgement I would like to thank my father for inspiring my love of theatre and supporting me no matter what. I would also like to thank my Aunt Jane and Uncle Norman for being so very cool. Thanks to my old friends, Matt Williams and Tina Medlin Nelson, and my new VCU friends, Shanea N. Taylor and Kim Parkins, for making grad school bearable. Also thanks to Hana, Tara and the whole Beatty family for their love and support. -
The Harold: a Revolutionary Form That Changed
THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By MATT FOTIS Dr. M. Heather Carver, Dissertation Supervisor MAY 2012 © Copyright by Matt Fotis 2012 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY Presented by Matt Fotis A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Professor M. Heather Carver Professor David Crespy Professor Cheryl Black Professor Cornelius Eady ACKNOWLEDGEMENTS This dissertation would have never happened without the help, support, and encouragement of numerous people. First and foremost I want to thank my committee— Heather Carver, David Crespy, Cheryl Black, and Cornelius Eady—for their guidance, questions, epiphanies, and good humor, without which I would not be writing this thank you. I want to thank Ann Haugo, John Poole, and Liz Mullenix for first beginning this journey with me. Of course many thanks go out to Charna Halpern, Ted Flicker, and all the generous improvisers who agreed to be interviewed for this project, as well as the countless improvisers who simply took the time to informally discuss improv with me. I would be nowhere without the teachers that taught me how to improvise and the students who continue to teach me. My beautiful wife, whom I first got to know through improvisation, thank you for your love, support, and patience…and for usually laughing at my jokes…and for telling me when I’m not funny.